Of course by featuring Craig in the title of this piece less than ten days before Quantum of Solace’s stateside bow, I’m engaging in the same bit of a star-exploitation as releaser Anchor Bay...

…but I can’t help but think that movie buffs will be more curious about Flashbacks of a Fool if they know upfront who the star is, especially as it is such a through-and-through Craig project: he exec-produced and the lead role was written with him in mind by his buddy, director Baillie Walsh. Plus, Craig’s role in this straight-up drama here is such a departure from Bond that—

Hold on, though… is it actually that much of a stretch? Playing a Brit movie star who is irresistible to women and likes to drink?

Indeed, the fact that the superficial aspects of protagonist Joe Scott resemble a self-indulgent alter ego to Craig himself gives one pause. Is Flashbacks of a Fool actually a veiled vanity project in that it tells a personal story of a good-looking, basically decent youth who leaves behind his humble origins to seek stardom and then struggles remain grounded?

(Note: The trailer does contain spoiler-like clips from some of the film’s most arresting scenes.)

I don’t know enough about Craig’s background to comment on how much the story spoke to him personally—perhaps not at all. But I do know that if Flashbacks of a Fool is a vanity project, it’s far, far better than it has a right to be, with excellent cinematography, some penetrating dialogue, and an engaging soundtrack. Craig himself is solid, showing an emotionally-frayed quality and even vulnerability in small bursts. But the really impressive work is done by the supporting cast, which includes Eve, Olivia Williams, Claire Forlani, and the wonderful Jodhi May. Fine performances are also turned in by a crew of young actors, including Harry Eden as a youthful version of Joe Scott, Max Deacon as his best friend, and, most notably, Felicity Jones as the teen incarnation of Forlani’s character.

What’s interesting is that all of these strong performances occur in the context of an only slightly-better-than-average screenplay. That’s because on a scene-by-scene, note-by-note basis there are few missteps and actually several moments of real dramatic impact. But unfortunately the whole enterprise will be entirely too familiar and earnest for most audiences. And while outright stumbles by the script are rare, at least one of them is nothing less than jarring. Indeed, Jodhi May’s cheating wife-character is dealt with so horrifically and with such arch moralism for her transgression that it almost feels like the film itself is out to punish the audience for the erotic charge she’s provided. And while perhaps more subtly handled in the actual script, the film’s main scene of tragedy, though original in some respects, is so excruciatingly telegraphed by Walsh and editor Struan Clay that it comes across more contrived than powerful.